Dir. Kinka Usher, BBDO/N.Y., Digital Domain Team On Lauded Super Bowl Spot.
CLIENT
Pepsi-Cola.
PRODUCTION CO.
House Of Usher Films, Santa Monica. Kinka Usher, director; Guillermo Navarro, DP; Joe Jennings, aerial DP; Dennis Hoey, line producer; Taylor Ferguson, head of production. Shot on location.
AGENCY
BBDO/New York. Ted Sann, chief creative officer; Michael Patti, executive creative director; Bill Bruce, senior creative director/copywriter; Doris Cassar, senior creative director/art director; Gary Delemeester, executive producer; Loren Parkins, senior producer for music; Sherry Lyerly, assistant producer.
EDITORIAL
Nomad Editing Company, Santa Monica. John Murray, editor.
POST
Company 3, Santa Monica. Stefan Sonnenfeld, colorist; Noel Castley-Wright, online editor.
VISUAL EFFECTS
Digital Domain, Venice, Calif. Michael Gibson and Andy MacDonald, visual effects supervisors; Randall Rosa, animation supervisor; Scott Rader, compositing supervisor; Julian Levi, visual effects producer; Kelly L’Estrange, visual effects coordinator; Lisa Spence Lissak, digital-effects coordinator; Daniel Robichaud, Keith Smith, Vernon Wilbert, Keiji Yamaguchi and Bernd Angerer, animators; Shannan Burkley and Christine Lo, digital artists; Rick Dunn, compositor; Ed Ulbrich, senior VP of production; Mitch Kanner, executive director, marketing and new business; Katie Adams, director of commercial production; Gabby Gourrier-Evans, bidding producer.
AUDIO POST
Framework Sound, Burbank, Calif. Ken Dahlinger, audio mixer.
SOUND DESIGN
Nomad Editing Company. Gus Koven, sound designer.
BY ROBERT GOLDRICH
Do flapping goose wings generate a buzz? They do in the ad community, as Pepsi’s “Flying Geese”–the first spot to air during Super Bowl XXXII–also scored first among USA Today Ad Meter respondents as the most popular commercial of this year’s big game. Conceived by BBDO/ New York, “Flying Geese” meshed live action and visual effects, teaming director Kinka Usher from Santa Monica-based House Of Usher Films with an ensemble at Digital Domain in Venice, Calif., that included effects supervisors Michael Gibson and Andy MacDonald, CG animation supervisor Randall Rosa and visual effects producer Julian Levi.
The spot shows a man flying through the sky on a snowboard who confronts a goose during amazing midair acrobatics. The goose mimics the daredevil maneuvers of the sky surfer in what first appears to be a can-you-top-this competition. But the aerial antics turn out to be friendly as the sky surfer pops open a can of Pepsi, takes a swig and then angles the soda can so that the beverage streams out behind him into the waiting beak of the goose. The goose then ascends to a gaggle of fellow geese who fly in formation to form the Pepsi “globe” logo.
Usher credited the writer/art director team of senior creative directors Bill Bruce and Doris Cassar as well as executive producer Gary Delemeester with being key to the success of “Flying Geese.” “They were the glue that held the concept together and stayed true to it throughout the process–from live action to the digital side until completion,” assessed Usher, who added that his having collaborated on previous projects with the BBDO contingent–and for that matter with Digital Domain–made the ambitious spot an easier undertaking.
“We had a working rapport already established with Kinka going into this job,” pointed out Mitch Kanner, Digital Domain’s executive director, marketing and new business, who cited a professional relationship that dates back most notably to the 1995 “Trix” ad for the California Fluid Milk Processors Advisory Board out of Goodby, Silverstein & Partners, San Francisco. “Trix” helped Usher earn his first Directors Guild of America (DGA) nomination for best commercial director of the year (SHOOT, 2/23/96, p. 1). Usher was also a DGA nominee the following year.
“Kinka was very specific about what he wanted us to create in terms of the CG goose and the flock of geese,” related Digital Domain’s Rosa. “One, the work had to be photo-realistic; two, the star goose had to stay anatomically within its own boundaries; and three, the goose had to be animated so it would appear subject to the same physics and dynamics of the air which affected the sky surfer.”
Making the photo-realistic prerequisite all the more important was that a real goose was used for certain close-up shots. The CG and the real deal had to be compatible with one another in order to be believable to the human eye.
Usher added that the eyeline was also critical so that it would appear that the sky surfer was looking at and connecting with the nearby goose who actually wasn’t part of the live-action filming whatsoever. “One trick was to cleverly disguise the eyeline,” disclosed Usher. “I put big eye goggles on the skydiver–that gave us bigger eyes and more latitude to play with in terms of where he was looking.”
Another daunting challenge was planning the sky surfer’s stunts–walking through camera moves to determine the aerial action that would mesh best with the CG goose. “This was a tricky proposition from a directorial standpoint,” continued Usher. “But we mapped it out, kept true to realistic eyelines and the sky surfer himself helped a great deal by making us aware of his limitations. He even showed us his `henhouse surprise,’ which is a move we incorporated into the spot. It’s the move where he drinks the soda, inverts himself and does this helicopter-type spin through the air. That added a little extra something to the commercial.”
But most gratifying to Usher was the entertainment value of the ad, which lent itself to the Pepsi logo formation at the end. “The USA Today rating demonstrated a mass audience appeal–and the logo is woven into an entertaining story so it’s not obtrusive,” said Usher. “It translated into an amazing corporate identity for Pepsi.”
Guillermo Navarro and Joe Jennings were DP and aerial DP, respectively. John Murray of Nomad Editing Company, Santa Monica, cut the spot. Nomad’s Gus Koven was the sound designer. And BBDO/New York bought the music rights to “Memphis Belle,” which was composed by George Fenton.
***
Avion Films Fulfills A Dream With AGF
CLIENT
AGF Mutual Funds.
PRODUCTION CO.
Avion Films, Toronto. Steve Eshelman, director; Stanley Mestel, DP; Michael Schwartz, executive producer; Jennifer Base, producer. Shot on location.
AGENCY
Young & Rubicam, Toronto. Diane Kirk, producer; David Adams, art director; John Farquhar, writer.
EDITORIAL
Flashcut Editing, Toronto. Chris Parkins, editor.
POST/VISUAL EFFECTS
Command Post TOYBOX, Toronto. Elaine Ford, colorist. The Post Group, Toronto. Nick Iannelli, online editor/visual effects.
AUDIO POST
DAVE, Toronto. Richard Benoit, engineer/mixer.
MUSIC/SOUND DESIGN
Rosnick MacKinnon, Toronto. Ted Rosnick, composer/sound designer/arranger.
THE SPOT
The :30 “Actor” features a man who is living out his retirement dream–to be an actor in retirement commercials–thanks to AGF Mutual Funds.
Spot broke Jan. 4.
***
FilmCore Lends A Hand To Taco Bueno
CLIENT
Taco Bueno.
PRODUCTION CO.
Dublin Productions, Hollywood. Jarl Olsen, director; David Claessen, DP; Matthew Marquis, executive producer. Shot on location.
AGENCY
Mendelsohn/Zien Advertising, Los Angeles. Jordin Mendelsohn, creative director; Brittany Stevenson, producer; Amy Lyngos, assistant producer; Kim Genkinger, copywriter; Jeff Nee, art director.
EDITORIAL
FilmCore, Hollywood. Charlie Chubak, editor; Therese Hunsberger, executive producer.
POST
Company 3, Santa Monica. Mike Pethel, colorist. Encore Santa Monica. Brian Reed, online editor.
VISUAL EFFECTS
POP Television, Santa Monica. Kristin Johnson, Flame artist.
AUDIO POST
POP Sound, Santa Monica. Peter Rincon, engineer/mixer. Mike Recording Services, Los Angeles. Bruce Bueckert, engineer/mixer.
MUSIC
Sound Cage, Los Angeles. Danny Silverman, composer/arranger.
SOUND DESIGN
FilmCore. Charlie Chubak, sound designer. Sound Cage. Danny Silverman, sound designer.
THE SPOT
Four :30s highlight Taco Bueno’s “handmade” food by letting its fingers do the talking. “Free Refills,” “Handmade Chip,” “Muchacho Slap” and “Flashback Freshness” each star an upturned fist adorned with a pair of eyes, a handlebar mustache, lipstick and a penchant for one-liners. In “Free Refills,” the fist has just finished a taco “with lots of hot sauce” and rushes to the soda dispenser to quench its thirst. The soda flows through the opening in the hand and, of course, runs straight down the drain. “This stuff, it goes right through me,” deadpans the hand. “Handmade Chip” shows a tortilla chip moving ominously in front of a movie screen, scaring a chubby young girl in a swimming pool in the movie. In “Muchacho Slap,” the hand tries to improve the Spanish skills of a pair of construction workers and receives a slap on the wrist in return. “Flashback Freshness” features a trip to Mexico, as the hand screens his family’s home movies.
Spots broke in November.
***
Shadowrock Has A Romance With Salada
CLIENT
Redco Foods/Salada Tea.
PRODUCTION CO.
Shadowrock Productions, Beverly Hills, Calif., in association with Rave Films, Toronto. For Shadowrock Productions: Oscar Bassinson, director; Rene Ohashi, DP; Wendy Littlefield, Kathryn Bishop and Michael Terry, executive producers; Michi Lepik, producer. For Rave Films: Ken Eggett, executive producer. Shot on location.
AGENCY
Clark & Pope, New York. Wendell Pope, president; Herb Clark, creative director/art director; Bruce Coe, writer/producer.
EDITORIAL
The Cutting Vision, New York. Paul Bastin, editor.
POST
The Cutting Vision. Paul Bastin, online editor. Post Perfect, New York. Joe Bond, colorist.
AUDIO POST
The Cutting Vision. Joe Casalino, engineer/mixer.
MUSIC
Com/track, Chicago. B. Coe, composer; Joel Raney and Jeff Boyle, arrangers.
THE SPOT
“Woman” tells the story of a woman and her brewing romance. The :30 opens on a woman rising from bed, and follows her as she makes her way downstairs where her mate has prepared a cup of Salada Tea. The spot implies that this is a recently rekindled romance–both between the man and the woman, and between the woman and the tea.
Spot broke in November.
***
ARF & Co. Cater For Kraft Cheddary Melts
CLIENT
Kraft Foods/Kraft Cheddary Melts.
PRODUCTION CO.
ARF & Co., Hoboken, N.J. Alex Fernbach, director/DP; Nancy Early, executive producer; Nina Sloan, producer; Mark Fitzmartin, head of production. Shot on location.
AGENCY
Foote, Cone & Belding, Chicago. Dave Moeller, senior VP/creative director; Joan Picchietti, art director; Chris Strange, copywriter; Chris Bing, producer.
EDITORIAL
Optimus, Chicago. Katy Maguire, editor.
POST
Optimus. Craig Leffel, colorist; Mike Weber, online editor.
AUDIO POST
Optimus. Bruce Lash, mixer.
MUSIC
SPANK! Music and Sound Design, Chicago. Greg Allan, composer.
THE SPOT
In the :30 “Caterers,” two women who own a catering company discuss how cooking with Kraft Cheddary Melts helps them prepare the “perfect” meal for a baby shower.
Spot broke in November.
***
Morrison Prodns. Wins The Ky. Lottery
CLIENT
Kentucky Lottery.
PRODUCTION CO.
Morrison Productions, New Orleans. Brian Bain, director; Steve Finestone, DP; Holly Vega, executive producer; Edith LeBlanc, producer. Shot on location.
AGENCY
Doe-Anderson Advertising, Louisville, Ky. Gary Sloboda, creative director; Mike Weston and Christian Urton, art directors; Paul Gosselin and Ed Neary, copywriters; Delane Wise, producer.
EDITORIAL
Videobred Inc., Louisville. Cindy Jones, offline editor.
POST
The Filmworkers Club, Nashville. Rodney Williams, colorist. Videobred Inc. Mike Cash, online editor.
AUDIO POST/SOUND DESIGN
Videobred Inc. Rick Boone, audio engineer/sound designer.
THE SPOT
In “Escapes,” a giant Powerball leaves a path of destruction. In “Tracker,” a man follows a trail of money in search of Megabucks. “Prize Squad” shows the Prize Patrol honing their “skills.”
Spots broke Nov. 3.
***
Why Not Coco Frames New West
CLIENT
New West Eyeworks.
PRODUCTION CO.
Fusion Images, Studio City, Calif. (Company is now called Level 7 Productions.) James Wvinner, director; Steve George, DP; Chris M. Van Howten and Larry Serraino, producers. Shot at Ben Kitay Studios, Hollywood.
AGENCY
The Fuller Group, Los Angeles. Mike Pitzer, creative director/art director; Bonnie Peluso, creative director/copywriter; Debbie Galloway, producer.
EDITORIAL
Why Not Coco, Los Angeles. Robert Levy, editor; Michael Galletta, assistant editor; Angela Galletta, post producer.
POST
Hollywood Digital, Hollywood. Steve Rodriguez, colorist.
VISUAL EFFECTS
Editel/Los Angeles, Hollywood. Ernie Camacho, Henry artist; Lauri Hunter, Flame artist.
AUDIO POST
Margarita Mix, Hollywood. Jimmy Hite, mixer.
THE SPOT
Three spots for New West Eyeworks (and its divisions Vista Optical and Lee Optical), take a literal approach to focus on value, quality and savings issues when choosing a place to purchase eyewear. In “Half,” the screen tears down the middle as a spokesman relates that one can get a pair of eyeglasses for half the price of competing optical shops. “Coupon” features a spokeswoman discussing the gimmicks of coupons vs. New West’s approach to specials. “Twice as Far” conveys the message that paying more for eyeglasses and frames doesn’t mean you’ll get any more out of them.
Spots broke in February.
***
Satellite Has Mortal Kombat For Midway
CLIENT
Midway Home Entertainment.
PRODUCTION CO.
Satellite Films, Hollywood. Caitlin Felton, director; Peter Selesnic, DP; Jeff Armstrong, executive producer; Eric Matthies, producer; Tim Clawson, head of production; Matthew Pomerans, staff producer; Diana Vance, production supervisor; Joel Tabbush, production coordinator. Shot on location.
AGENCY
DDB Needham Dallas. Kimberly Grear, producer; Greg Wells, art director; Russell Lombrecht, copywriter.
EDITORIAL
charlieuniformtango, Dallas. Jack Waldrip, editor.
POST
The Filmworkers Club, Dallas. Drew Marsh, colorist; David Laird and David Slack, online editors.
VISUAL EFFECTS
charlieuniformtango. David Laird and David Slack, graphic artists.
AUDIO POST
charlieuniformtango. Russell Smith, engineer.
MUSIC
tomandandy, Santa Monica, Calif. Andy Milburn, composer.
SOUND DESIGN
charlieuniformtango. Jack Waldrip, sound designer.
THE SPOT
“Sub-Zero” features live action intercut with video game footage to bring to life the three central Mortal Kombat characters: Sub-Zero, QuanChi and Serena.
Spot broke Nov. 3.
***
Xposure Heads To B’way For The Capeman
CLIENT
The Capeman.
PRODUCTION CO.
Xposure Productions, New York. Pavel Salek, director; Chris Lombardozzi, DP; Michelle M. Giancola, executive producer. Shot on location.
AGENCY
The Bravo Group, New York. Maureen Justiniano, creative director/copywriter; Lourdes Colon, producer.
EDITORIAL
Xposure Productions. Pavel Salek, editor/designer.
POST
Gloria’s Place, New York. Pavel Salek, online editor. Post Perfect, New York. Victor Mulholland, colorist.
AUDIO POST
SoundHound, New York. James Von Beulow, mixer.
THE SPOT
“The Capeman” promotes singer/songwriter Paul Simon’s first musical, The Capeman. The :30 features a testimonial from Marc Anthony, one of the stars of the play, who is standing in front of the theater surrounded by fans seeking his autograph.
Spot broke in December
